My Experience

My experience with the Memphis Opera & Song Academy
by Diane Dietz, participant of the new summer program for singers at The University of Memphis in 2007

When it comes to summer programs for opera singers, one of the gems of the Midwest is the Memphis Opera and Song Academy (MOSA), founded and directed by Susan Owen-Leinert (Professor at University of Memphis and International Dramatic Soprano) and Michael Leinert, (German General Manager and Artistic Director). While I was teaching at a small liberal arts college in Illinois, a flyer came across my desk. I had been looking for a summer program, and this one caught my attention. What intrigued me most was that the directors of the program were genuine, experienced performers and directors of European opera stages (including Berlin, Munich, Dresden, Kassel, Hamburg, Bremen, Düsseldorf, Bologna, Trieste and Vienna). Also, the program promised practical information to help weed through the chaos of pursuing an international performing career on your own. I called for an audition and got the last one available.

The audition process was quick and painless. I sang the requested two contrasting pieces (one in German) with the help of Marcie Richardson, pianist and coach for MOSA. Before singing for the directors, I was given the luxury of rehearsing with Ms. Richardson—something that in my experience rarely happens. Emphasis was made on making the singers feel at ease and comfortable with their experience. Culminating the audition was a closed interview with the directors to better understand my future goals and purpose in auditioning for MOSA. I soon discovered not everyone attending the program had aspirations of pursuing an operatic career in Europe. Of the eighteen aspiring performers that attended (ages 20-40+), some came specifically to work with American dramatic soprano, Susan Owen-Leinert, while some wanted to try the University of Memphis on for size. Others were there as a stepping stone in their young, developing career. All of us were there to learn and explore our own professional possibilities.

Within two weeks of the audition, I had received all of the music I would be expected to prepare. It was clear that careful consideration had gone into determining what repertoire should be sung by each individual. I personally felt very comfortable with my assignments. They were interesting and challenging, ranging in style from Monteverdi to Richard Strauss. While it never appeared in print, the expectation of having the 4-5 scenes learned and polished was implied. The scenes ranged in variety, from L’Orfeo to Die Zauberflöte to Die Walküre to West Side Story. In addition, each participant was expected to prepare Lieder for a special master class on song interpretation. We were also encouraged to bring additional repertoire, should we find time for extra coachings—all included at a very reasonable price. ($850 tuition fee = two full weeks of fully-staged scenes, coachings, masterclasses, seminars, handouts, demo CD recording, advice and direction)

Within a month of receiving the materials, on May 20, all of us gathered from our diverse corners: Virginia, Texas, New York, Arizona, Tennessee, Illinois, Japan, etc. Housing was optional and included a comfortable room in a nearby residence hall with private bedrooms and shared bathrooms. Breakfast was included in the price of the room (~$300/two weeks), but only on weekdays, excluding Memorial Day holiday. Lunch and dinner were on our own, and those of us with cars were happy to offer rides to those without transportation. Food options were within walking distance, however—only a couple of blocks from campus.

Daily life at MOSA found all participants meeting for the menagerie of scene rehearsals in the mornings and afternoons. With the help of Mark Ensley, Director of the Opera Program at the University of Memphis, Dr. Victor Asunción, Professor of Piano and Coordinator of the Collaborative Pianist Program at the University of Memphis and Marcie Richardson, pianist and vocal coach, we were in well-qualified hands. A guest faculty member from Hamburg, Germany joined us on the third day. Maestro Klaus Dieter Jung is a vocal coach and Music Director of the Chamber Opera in Hamburg. He, along with Susan Owen-Leinert and Michael Leinert, provided that first-hand knowledge I was looking for in a summer opera program. With a break for lunch and dinner, we all gathered again in the evenings for a seminar of interesting and useful information regarding the theater system of Europe, contract negotiation, opera history, current stage practices in Europe, German vocabulary for the stage, audition preparation and practical advice for living and working in Europe. The days and evenings were so packed with helpful tools and tidbits; it was clear this was money well-spent.

To conclude our experience, all participants performed in a free concert of scenes, arias and Lieder for the opera lovers of Memphis. We performed for a nearly-full house at Harris Concert Hall in the Rudi E. Scheidt School of Music on the University of Memphis campus. It was a rewarding experience to show the fruits of our labor from the previous two intensive weeks. For me, it felt as if we were a company of singers who had worked together for months, preparing our roles for the big opening night. The performance was a success, and shortly afterward, we learned that MOSA would return for another summer session. (MOSA 2008 is scheduled for May 18-June 1, 2008)

Following the after-concert party and a good night’s sleep, the program ended with one more session of closing comments with the directors. We received certificates for our successful participation and said our goodbyes. As we all went our separate ways, I wondered when our paths might cross again in this all too small world of singers, and I also pondered who might use the tools we gained over the last two weeks to pursue a career like the one Susan Owen-Leinert has had.

Fast-forward to October 12, 2007…

Here I am, sitting at the kitchen table of a friend’s apartment in what used to be East Berlin. Germany is a beautiful place, and it’s brimming with history and culture and musical possibilities. After several years of teaching, I’ve made the giant leap to pursue an operatic career. With an open mind and a driven purpose in your heart (and well-prepared arias, a trunk full of contacts and a little bit of luck), this experience can be quite thrilling.
Thanks to my notebook of contacts and information from MOSA, I used the summer to correspond with several agencies and opera houses for auditions. Now that I’m here, my first is next week with the Hamburg Chamber Opera. Everyone asks to hear something in German, of course, but also the other standard languages. And don’t forget operetta and musical theater. It’s quite popular here, and I’ve been asked to share something of lighter fare at nearly every appointment. Armed with my CV, list of repertoire, headshot, CD and letters of recommendation (including those from the directors of MOSA), I feel confident in my preparation, and now all I need is some experience auditioning for the German system to complete my goal: a contract with a German opera company.

October 17, 2007, Hamburg…

For my first audition experience in Germany, I was lucky enough to sing for the Hamburg Kammeroper (Chamber Opera). I arrived by train from Berlin at noon on the day of the audition. (Hamburg is only a two hour train ride on the inter-city express, so it was a comfortable distance without having to arrive the day before, sparing the expense of lodging.) The opera house was a short walk from the train station, and after a brief warm-up and rehearsal with the provided pianist, I was ready to go. The audition was held in the house and observed by the owners/managers of the house and the music director, Klaus Jung, from MOSA.

I introduced myself in my best German tongue and then proceeded to sing two selections, Ach, ich fühl’s from Die Zauberflöte and Quando men vo from La Bohème. The listeners seemed receptive to my performance, and afterward, asked me to return for a second audition. Wow! My first German audition experience, and I’m asked for a callback! How exciting!

After a few more days in Berlin, seeing the sights and meeting up with fellow opera singers for advice over coffee or brunch, I head down to Munch for a couple of weeks to pursue audition possibilities in Germany’s southern region. Already, I have auditions lined up with two agencies in Munich. Then I’m off to the western side for auditions in Köln and Düsseldorf. It’s a carefully-planned itinerary, but not necessarily in any geographical order. If you find yourself in this position, I would highly recommend getting a Eurail pass before leaving the U.S. or applying for a Bahn Card once you arrive in Germany. I did the latter, and for 200 euros up front, I can get 50% off all 2nd class tickets. With all of the traveling I’ll do, it’s a great deal, plus it’s good for a year, so I figured it was good to be optimistic about my future.

In my experience, the uncharted territory of pursuing a job of an opera singer is loaded with confidence and insecurities, adventure and homesickness, meticulous planning and flexibility. It cannot be clearly defined. The Memphis Opera and Song Academy was very helpful to me on a practical level. However, nothing could ever completely prepare me for this new experience. Yes, this path has been traveled by countless singers from countless places all over the globe, but it’s brand new to me. Thanks to MOSA, I have many valuable tools to get possibilities rolling.